Dissertations / Theses: 'African literature; Feminist'

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Koziatek, Zuzanna Ewelina. " Formal Affective Strategies in Contemporary African Diasporic Feminist Texts ." Cleveland State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=csu1621007445234777.

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Spriggs, Bianca L. "Women of the Apocalypse: Afrospeculative Feminist Novelists." UKnowledge, 2017. http://uknowledge.uky.edu/english_etds/56.

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“Women of the Apocalypse: Feminist Afrospeculative Writers,” seeks to address the problematic ‘Exodus narrative,’ a convention that has helped shape Black American liberation politics dating back to the writings of Phyllis Wheatley. Novels by Zora Neale Hurston, Octavia Butler, and Alice Walker undermine and complicate this narrative by challenging the trope of a single charismatic male leader who leads an entire race to a utopic promised land. For these writers, the Exodus narrative is unsustainable for a number of reasons, not the least of which is because there is no room for women to operate outside of the role of supportive wives. The mode of speculative fiction is well suited to crafting counter-narratives to Exodus mythology because of its ability to place marginalized voices in the center from the stance of ‘What next?’ My project is a hybrid in that I combine critical theory with original poems. The prose section of each chapter contextualizes a novel and its author with regard to Exodus mythology. However, because novels can only reveal so much about character development, I identify spaces to engage and elaborate upon the conversation incited by these authors’ feminist protagonists. In the tradition of Black American poets such as, Ai, Patricia Smith, Rita Dove, and Tyehimba Jess, in my own personal creative work, I regularly engage historical figures through recovering the narratives of underrepresented voices. To write in persona or limited omniscient, spotlighting an event where the reader possesses incomplete information surrounding a character’s experience, the result becomes a kind of call-and-response interaction with these novels.

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Mekgwe, Pinkie Tlotlego. "Femmeninism : a stutter or a starter? gender constructions and male feminist politics in African literature." Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249108.

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Gress, Priti Chitnis. "Tar Baby and the Black Feminist Literary Tradition." W&M ScholarWorks, 1997. https://scholarworks.wm.edu/etd/1539626111.

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Sougou, Omar. "A critical study of Buchi Emecheta's fiction 1972-1989." Thesis, University of Aberdeen, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.318909.

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This thesis proposes to study comprehensively the contribution of Buchi Emecheta to African literature and to the debate over feminism and African and black women. Chapters one and two are a background to the investigation of Emecheta's fiction. They examine the work of selected African female and male novelists in order to assess the representation of he African woman in the novel and her role and place in a changing society. The writings of women are considered in relation to women's priorities and the orientation of the African novel itself. The notion of protest as a rhetorical device is considered in Chapters three and four. They chart Emecheta's condemnation of patriarchal ethics in four of her novels. The awakening and growth in consciousness of her heroines is studied in detail in Chapter four which also considers the novelist's interest in national questions. Chapters five and six discuss the attitudes of African/black women towards feminism as practised in the West and how it is reflected in the positions of Emecheta and some other African female writers; how this is perceived in the writing of black women in Britain and of representative African-American novelists and critics. Lesbianism and radical separatism are discussed, as is the womanist alternative. While Chapter five is fundamentally theoretical, Chapter six traces the evolution of Emecheta's own views by way of her first two novels of the early seventies and the latest one published in 1989. Language and style are under consideration in Chapters seven, eight and nine. Chapter seven is concerned with placing Emecheta within the debate about literatures in African languages. Chapter eight deals with stylistic developments in Emecheta's fiction in terms of narrative strategy and the source from which she constructs the figures in her prose. The presentation of speech is scrutinized in chapter nine as part of realism, which entails an examination of the function of proverbs and Pidgin English in the novels.

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Mtuze, Peter Tshobiso. "A feminist critique of the image of woman in the prose works of selected Xhosa writers (1909 - 1980)." Doctoral thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/23636.

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The study examines, from a feminist point of view, the stereotypic image of woman in Xhosa prose fiction from pre-literate times to the era of written literature (1909 - 1980). Attaching feminist critical theory to conventional literary characterisation gives this pioneering study a human dime,n sion that is bound to rejuvenate traditional critical appredation and highlight the tremendous power of art to reflect or parallel real-life experiences. Consequently, the study transcends the confines of traditional literary criticism. It throws interdisciplinary light on the African feminist dilemma over the past 70 years while focusing on gender stereotyping as a characterisation technique. Chapter 1 clearly demarcates the scope of study and the critical position adopted, while chapter 2 traces stereotypes back to Xhosa folk-tales. In this way, an interesting link or parallel in stereotyping between oral and written literature is highlighted. It is worth pointing out that Chapter 3 is significant in that no women writers' works produced in the first and the second decades have survived. The male writers of the period describe women in strict stereotypic fashion, without fear of contradiction, from Woman as Eve to Woman as Witch, among other archetypal images. The female stereotypic image in the third and the fourth decades, the role of the first two female novelists and the early seeds of female. resistance to male domination, are discussed. in Chapter 4 while Chapter 5 highlights the depiction of female characters by male and female prose writers in the Fifties, culminating in Mzamane's exposure of glaring anti-female social norms and practices. In Chapter 6 the spotlight is cast on the woman of the Sixties and the rise of active resistance to male dominance. Some contemporary women, as pointed out in Chapter 7, have crossed the Rubicon in diverse ways. They are assertive, independent, proactive and relentlessly opposed to male dominance. Chapter 8 sums up the main points in relation to the Xhosa woman's attitude towards Western feminism: while many Xhosa women feel justifiably unhappy about male dominance, they refuse to let their frustrations affect their unity with men in the greater struggle against racism. Although the study concludes on an anti-climactic note for Western feminists, it focuses on this crucial and unique distinction between Western and black feminism.

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Hinton-Johnson, KaaVonia Mechelle. "Expanding the power of literature African American literary theory & young adult literature /." Columbus, OH : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054833658.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains vii, 175 p. Includes abstract and vita. Advisor: Caroline Clark, College of Education. Includes bibliographical references (p. 160-175).

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Jones, Claire. "An Intersectional Feminist Perspective of Emmett Till in Young Adult Literature." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etd/3413.

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Emmett Till’s murder inspired many novelists, poets, and artists. Recently, Till has inspired several feminist young adult novelists who are introducing his case in an intersectional way to a new generation of readers. The works that I have studied are A Wreath for Emmett Till (2003) by Marilyn Nelson, The Hunger Games Trilogy (2008-2010) by Suzanne Collins, and Midnight without a Moon (2017) by Linda Jackson. By examining how the authors employ a feminist perspective, readers can understand how they are striving for a more inclusive, intersectional feminist movement. This is significant because the publishing industry, specifically for Young Adult Literature, is not diverse. These works, while often overlooked by critics, may be the first exposure most young readers have to Emmett Till. Each of these novels could be used to teach readers not only about Till’s case, but also about current events to help foster a multicultural consciousness.

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Capelli, Amanda M. "The (Un)Balanced Canon| Re-Visioning Feminist Conceptions of Madness and Transgression." Thesis, University of Louisiana at Lafayette, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10686919.

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By re-positioning the works of Elaine Showalter, Phyllis Chesler, Sandra Gilbert, and Susan Gubar alongside Alice Dunbar-Nelson, Nella Larsen, and Zora Neale Hurston, reading the literary texts through the feminist theories in order to expand them, this dissertation aims to contribute to an intersectional feminist practice that challenges claims of universality and continues to decolonize the female body and mind. Through an intersectional analysis of narratives written by women of color, applying and re-visioning theories of madness and transgression, this dissertation will present a counter-narrative to the “essential womanness” developed within and sustained by white feminist practices throughout the 1970s. Each chapter pairs white feminist theorists with an author whose work complicates notions of universal female experience: Dunbar-Nelson/ Showalter, Larsen/ Chesler, Hurston/Gilbert and Gubar. These pairings create tension between theories of universality and the realities of difference. The addition of three different narratives, each representing a broader range of intersectional female experience, enriches the heteroglossia surrounding feminist conceptions of mental illness. The result is a poly-vocal conversation that employs a scaffold of intersectional identity politics in order to (re)consider the relationship between the diagnosis and treatment of mental illness and the performativity of gender.

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Dodgson-Katiyo, Pauline. "Gender, history and trauma in Zimbabwean and other African literatures." Thesis, Anglia Ruskin University, 2015. http://arro.anglia.ac.uk/582336/.

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Taking an interdisciplinary approach, this research explores Zimbabwean literary and other cultural texts within the broader context of the construction of identities and the politics of inclusion and exclusion in nationalist and oppositional discourses. It also analyzes two texts by major non-Zimbabwean African writers to examine the thematic links between Zimbabwean and other African writing. Through combining historical, anthropological and political approaches with postcolonial, postmodern and feminist critical theories, the thesis explores the ways in which African writing and performance represent alternative histories to official versions of the nation. It further investigates questions of gender and their significance in nationalist discourses and shows how writing on war, trauma and healing informs and develops readers’ understanding of the relationship of the past to the present. Considered together as a coherent body of work, the published items submitted in this thesis explore how Zimbabwean and other African writers, through re-visioning history and writing from oppositional or marginal positions, intervene in political debates and suggest new transformative ways of constructing and negotiating identities in postcolonial societies.

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Kima, Raogo Strickland Ronald. "Feminist intersections reading Louise Erdrich and Buchi Emecheta within/across cultural boundaries /." Normal, Ill. : Illinois State University, 2006. http://proquest.umi.com/pqdweb?index=0&did=1225115021&SrchMode=1&sid=5&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1177689713&clientId=43838.

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Thesis (Ph. D.)--Illinois State University, 2006.
Title from title page screen, viewed on April 27, 2007. Dissertation Committee: Ronald L. Strickland (chair), Susan Kalter, Kristin Dykstra, Elizabeth K. Stone. Includes bibliographical references (leaves 209-221) and abstract. Also available in print.

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Starke, Nathalie. "The Faces of Oppression : In Their Eyes Were Watching God and The Bluest Eye." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-25957.

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This essay examines the novels Their Eyes Were Watching God by Zora Neale Hurston and The Bluest Eye by Toni Morrison with feminist and African Amerian theory. The focus is on opppression and I study the men's roles and functions, whether the male characters follow social structures, if patriarchy is something noticeable and how this affect the female characters.

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Compion, Marlette. "'n Ondersoek na Scheherazade as moontlike voorganger in 'n vroulike verteltradisie in enkele Afrikaanse literêre tekste /." Link to the online version, 2005. http://hdl.handle.net/10019/998.

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Rodriguez, Ivette. "Reimagining African Authenticity Through Adichie's Imitation Motif." FIU Digital Commons, 2017. http://digitalcommons.fiu.edu/etd/3351.

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In An Image of Africa, Chinua Achebe indicts Conrad’s Heart of Darkness for exemplifying the kind of purist rhetoric that has long benefited Western ontology while propagating reductive renderings of African experience. Edward Said refers to this dynamic as the way in which societies define themselves contextually against an imagined Other. Chimamanda Ngozi Adichie’s fiction exposes how, by occupying cultural dominance, Western, white male values are normalized as universal. Nevertheless, these values are de-naturalized by their inconsistencies in the lived experiences of Adichie’s black, African women. Women who are at once aware of and participant in, the pretentions that underlie social interaction—pointing to the inevitability of performativity and disrupting the illusion of pure identity. These realizations interrupt Conrad’s essentialist conception of identity and reclaim diverse ontological possibilities for the Other.

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Manes, Caralynn. "I'm Every Woman: Audre Lorde's Creation of an Interior Community in Zami: A New Spelling of My Name." University of Toledo Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors151334487983631.

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Goremusandu, Tania. "Gender possibilities in the African context as explored by Mariama Ba's So long a letter, Neshani Andrea's The purple violet of Oshaantu and Sindiwe Magona's Beauty gift." Thesis, University of Fort Hare, 2016. http://hdl.handle.net/10353/6469.

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Gender oppression has been a significant discussion to the development of gender, cultural and feminist theories. The primary focus of this study is to investigate how patriarchal traditions, colonialism, and religious oppression force women to struggle under constrictions oppositional to empowerment. Thus, the project provides a comparative analysis of three texts from different African postcolonial societies by three African female writers: Mariama Bâ, Neshani Andreas and Sindiwe Magona. The author‟s biographies and historical context of their novels will be analyzed, as well as a summary of their stories will be included in order to provide the context for gender criticism. These writer‟s work; So Long a Letter, The Purple Violet of Oshaantu and Beauty‟s Gift depict patriarchal, cultural and religious laws which exist in Senegal, Namibia and South Africa, respectively, that limit the position of women. Therefore, this study will interrogate the experience of African women as inscribed in these selected texts, uncovering the literary expressions of gender oppression as well as the possibilities of empowerment. The selected texts will be analyzed through the lens of Gender studies, African feminism and Cultural studies. From these theories, the focus of the study is on the struggles of the female characters living in patriarchal societies as well as on the idea that gender is constructed socially and culturally in the African context. In conclusion, the emergence of these renowned female African writers together with the emancipation of African countries from colonial supremacy has opened a space for women to compensate and correct the stereotyped female images in African literature and post- colonial societies. Most contemporary African writers like Buchi Emecheta, Tsitsi Dangarembga, Sindiwe Magona, Mariama Bâ and Neshani Andreas have shown that women are seeking to attain empowerment. As a result, this study can be viewed as an opportunity to highlight such experiences by continuing to interrogate the writings of African women writers and to explore their gender-based themes so as to inform and or inspire the implementation of women empowerment. It will broaden and encourage further academic discussion in the field of Cultural studies and gender criticism of women‟s literature within the African context.

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Fennell, Jarad Heath. "The Non-Identical Anglophone Bildungsroman: From the Categorical to the De-Centering Literary Subject in the Black Atlantic." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6500.

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My goal with this dissertation was to discover more about how the Bildungsroman genre in English or the coming-of-age story became a staple of post-colonial and ethnic minority writing. I grew up reading novels like these and feel a great deal of affection for them, and I wanted to understand how authors writing in these other traditions represented a broader response to colonialist Western culture. My method was to survey philosophical approaches to subjectivity and subject-formation, read a wide variety of texts I understood as engaging with the Bildung tradition, and examining how they represented subject-formation. While I originally saw the appropriation of the genre as a revolutionary act that fundamentally changed the nature of the Bildungsroman, I found that the Bildungsroman contained a germ of this oppositional, in Theodor Adorno’s terminology non-identical, subjectivity throughout its existence as a type in English literature. The opposition of writers of Bildung to heteronormative, racist, and sexist discourse is what brought out this non-identical strain more forcefully and ultimately culminated in contemporary manifestations of the Bildungsroman that reject essentialism and understand subjectivity as strategic, hyphenated, and positioned against a centered, stable identity. The positive significance of studying these texts as featuring a de-centering literary subject is that it demonstrates how this mode of writing, including a future anterior narrator that reflects on his or her past experiences as usable material for fashioning a durable and adaptive self, empowers subjects to exert greater control over their own self-fashioning. Students learn empathy and agency from witnessing the struggles of these protagonists to tell their stories.

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Compion, Marlette. "'n Ondersoek na Scheherazade as moontlike voorganger in 'n vroulike verteltradisie in enkele Afrikaanse literêre tekste." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/2024.

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Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2005.
The aim of this study is to investigate the position that has been allocated to women authors by literary theorists. Some literary theorists are of the opinion that the action of writing can be compared to fatherhood, ownership and being a creator, all of which are male dominated images. Women writers have historically been marginalized by literary theorists, since there is a perception that women cannot write because they are not male. Harold Bloom has postulated that a male writer looks to a precursor in order to write and find his own voice. Before the writer can claim his own, original voice, he must enter into an Oedipal battle with the precusor, and, figuratively speaking, ‘kill’ him in his writing. According to Gilbert & Gubar, who serve here as representatives of the feminist literary theorists, women writers make use of monsterlike figures which serve as metaphors for the inner battle they have to endure to put pen to paper. The problem, however, is that women writers have no (female) precursors to look to. Elaine Showalter postulates 4 models that women writers may use in search of a female precursor or female body of writing, but she does not offer a clear solution. I am of the opinion that women writers can identity with a female figure or role model. The figure that I propose is Scheherazade, a storytelling character from the Thousand and One Nights, who told stories for a thousand and one nights in order for escape death. I identify a few texts from international literature that make use of this figure, whether as a character in the text, a metaphor for the female character who tells stories or as a metaphor for the author herself. This study focuses on texts from 3 genres in Afrikaans literature, namely children’s stories, short stories and a novel. It appears from the analysis of the texts that women writers have successfully made use of the Scheherazade character, to address issues concerning the social role and position allocated to women by a patriarchial society. Along with this women writers’ search and longing for a voice of their own and their own identity gets highlighted with the use of a Scheherazade-like female character who tells stories. Lastly it became clear that this figure is also being used by women writers to contemplate the dynamics of writing and to contextualise the role that self-doubt and self-actualisation play in telling and writing stories. Scheherazade thus becomes a vehicle for finding a voice as well as agency.

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Smith, Roslyn Nicole. "Medias Res, Temporal Double-Consciousness and Resistance in Octavia Butler's Kindred." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-11242007-230409/.

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Thesis (M.A.)--Georgia State University, 2007.
Title from file title page. Elizabeth West, committee chair; Layli Phillips, Kameelah Martin Samuel, committee members. Electronic text (52 p.) : digital, PDF file. Description based on contents viewed Jan. 30, 2008. Includes bibliographical references (p. 49-52).

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Holmlind, Ann-Louise. "The Adopted Daughter of Africa : A Close Reading of Joyce in Crossing the River from Postcolonial and Feminist Perspectives." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-35935.

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Abstract The aim of this essay is to explain why Caryl Phillips presents Joyce as "the adopted daughter of Africa" at the end of Crossing the River (1993). This will be done by performing a close reading. This essay will focus on Joyce’s actions and behaviour. Aspects of feminism and postcolonial theory will act as the theoretic basis for the analysis. The analysis of Joyce’s character will be put in relation to the whole of Phillips’ “Black Atlantic” narrative and to gender and third wave feminist theories. The analysis will show that Joyce, by breaking racial norms, renouncing her faith, defying her mother, divorcing her husband, and falling in love with Travis, is the person who defines hope in the novel. Her character, together with her son Greer, shows a path to reconciliation between races in the aftermath of colonialism.

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Blanding, Cristen Celeste. "Interracial Romance Novels and the Resolution of Racial Difference." Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1131365873.

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Shaw, John Brendan. "Touching History to Find “a Kind of Truth”: Black Women’s Queer Desires in Post-Civil Rights Literature, Film, and Music." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1468845503.

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McNeil, Nicene Rebecca. "Representations of Black Autonomy in Selected Works of Black Fiction." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1605789333021661.

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Holmes, Janel L. "The Color of Memory: Reimagining the Antebellum South in Works by James McBride Through the use of Free Indirect Discourse." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4220.

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This thesis examines the use of interior narrative techniques such as free indirect discourse and internal monologue in two of James McBride’s neo-slave narratives, Song Yet Sung (2008) and The Good Lord Bird (2013). Very limited critical attention has been given to these neo-slave narratives that illustrate McBrides attention to characterization and focalized narration. In these narratives McBride builds upon the revelations he explores in his bestselling memoir, The Color of Water (1996, 2006), where he learns to disassociate race and character. What he discovers about not only his mother, but also himself, inspires his re-imagination of the people who lived during the antebellum period. His use of interior narrative techniques deviates from his peers’ conventional approach to the neo-slave narrative. His exploration of the psyche demonstrates a focalized attention to the individual, rather than a characterization of the community, which is typically portrayed in neo-slave narratives. In conclusion, this thesis argues that James McBride’s neo-slave narratives reveal his interest in deconstructing the hierarchal positioning of whites and blacks during the antebellum period in order to communicate that although African Americans were the intended victims, slave masters and mistresses were oppressed by the ideologies of slavery as well.

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Lawrence, Ariel D. "Black Lives Examined: Black Nonfiction and the Praxis of Survival in the Post-Civil Rights Era." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5450.

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The subject of my thesis project is black nonfiction, namely the essay, memoir, and autobiography, written by black authors about and during the Post-Civil Rights Era. The central goals of this work are to briefly investigate the role of genre analysis within the various subsets of nonfiction and also to exemplify the ways that black writers have taken key genre models and evolved them. Secondly, I aim to understand the historical, political, and cultural contributions of the Post-Civil Rights Era, which I mark as hitting its stride in 1968. It is not my desire to create a definitive historical framework for the Post-Civil Rights Era, but instead to understand it as a period of transition, revolt, and transformation which asked many important questions that have remained unanswered. I apply multiple theoretical frameworks to my research — like queer theory, Afro-pessimism, fugitivity, and more — to offer insights into the nonfiction works of writers such as James Baldwin, Audre Lorde, Angela Davis, Alice Walker, Larry Neale, and Toni Cade Bambara. It is my hope to continue the work of such scholars as Hortense Spillers, Angela Ards, and Margo V. Perkins, by illustrating not only how these authors offered literary and aesthetic innovations, but also, through the archiving of their life experiences in print, create theories and practices for survival, forged in the past, which impact our current moment, and inspire us as scholars and activists to do the same.

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Silva, Meyre Ivone Santana da. "Reinventando identidades: gênero, raça e nação na literatura de A.A.Aidoo." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/13034.

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Made available in DSpace on 2016-04-27T19:31:40Z (GMT). No. of bitstreams: 1 Meyre Ivone Santana da Silva.pdf: 775031 bytes, checksum: 04d5c85cec4cddd73f9b9a531d3fdf26 (MD5) Previous issue date: 2007-12-13
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This paper intends to analyse the African female literary expression as a significant contribution to an alteration in the literary scenario of the Anglophone African countries. African female writers works contribute to the process of history rewriting and the reconstruction of female images in the African societies. Ama ata Aidoo is one these women writers that contribute to the development of an african feminist theory. African feminists fight against neocolonial powers and tradional structures that constitute some mountains to women lives
Este trabalho pretende analisar a expressão literária feminina africana como contribuição significativa para uma alteração no panorama da literatura dos países africanos de expressão inglesa. As obras destas escritoras contribuem para o processo de reescritura da história e reconstrução da imagem das mulheres nas sociedades africanas. Ama Ata Aidoo é uma destas mulheres que contribuem para a formulação de uma teoria feminista africana. As femininstas africanas lutam contra os poderes neocoloniais e as estruturas tradicionais que funcionam como montanhas na vida das mulheres

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Brum, Gabriela Eltz. "Sexual blinging of women : Alice Walker's african character tashi and issue of female genital cutting." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2005. http://hdl.handle.net/10183/4506.

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Este trabalho consiste em uma leitura das diferentes formas de representação que podem ser atribuídas à personagem Tashi, protagonista do romance Possessing the Secret of Joy (1992), da escritora negra estadunidense Alice Walker. Antes desta obra, Tashi já havia aparecido em dois romances de Walker, primeiro em The Color Purple (1982), como personagem periférica, e depois como menção em The Temple of my Familiar (1989). Com Tashi, surge a temática da prática da circuncisão feminina, ritual ao qual a personagem se submete no início da idade adulta. O foco de observação do trabalho se volta para a maneira na qual a revolta da autora é transformada em um meio de representação criativa. Walker utiliza sua obra abertamente como instrumento ideológico para que o tema da “mutilação genital” (termo utilizado pela autora) receba ampla atenção da mídia e da crítica em geral. O propósito da investigação é avaliar até que ponto o engajamento social da autora contribui de uma forma positiva em seu trabalho e até que ponto o mesmo engajamento o atrapalha. Para a análise das diferentes questões relacionadas ao tema de “female genital cutting” (FGC), termo que eu utilizo no decorrer da pesquisa, os trabalhos de críticas e escritoras feministas como Ellen Gruenbaum, Lightfoot-Klein, Nancy Hartsock, Linda Nicholson, Efrat Tseëlon e a egípcia Nawal El Saadawi serão consultados. Espero que esta dissertação possa contribuir como uma observação sobre como Alice Walker usa seu engajamento social na criação de seu mundo fictício.
This thesis provides a reading of the different forms of representation that can be attributed to the character Tashi, the protagonist of the novel Possessing the Secret of Joy (1992), written by the African American writer Alice Walker. Before this work Tashi had already appeared in two previous novels by Walker, first, in The Color Purple (1982) and then, as a mention, in The Temple of My Familiar (1989). With Tashi, the author introduces the issue of female circumcision, a ritual Tashi submits herself to at the beginning of her adult life. The focus of observation lies in the ways in which the author’s anger is transformed into a means of creative representation. Walker uses her novel Possessing the Secret of Joy openly as a political instrument so that the expression “female mutilation” (term used by the author) receives ample attention from the media and critics in general. The aim of this investigation is to evaluate to what extent Walker’s social engagement contributes to the development of her work and to what extent it undermines it. For the analysis of the different issues related to “female genital cutting”, the term I use in this thesis, the works of feminist critics and writers such as Ellen Gruenbaum, Lightfoot-Klein, Nancy Hartsock, Linda Nicholson, Efrat Tseëlon and the Egyptian writer and doctor Nawal El Saadawi will be consulted. I hope that this thesis can contribute as an observation about Alice Walker’s use of her social engagement in the creation of her fictional world.
Este trabajo consiste en una lectura de las diferentes formas de representación que pueden ser atribuidas al personaje Tashi, protagonista de la novela Possessing the Secret of Joy (1992), de la escritora negra norte-americana Alice Walker. Antes de esta obra, Tashi ya había aparecido en dos romances de Walker, primero en The Color Purple (1982), como personaje periferica y después como mención en The Temple of My Familiar (1989). Con Tashi, surge la temática de la circuncisión femenina, ritual al cual Tashi se somete en el principio de la edad adulta. El foco de observación del trabajo se vuelca sobre las maneras en las cuales la revuelta de la autora se tranforma en un medio de creación creativa. Walker utiliza su obra abiertamente como instrumento político para que el tema de la “mutilación genital” (termino utilizado por la autora) reciba amplia atención de los medios y crítica en general. El propósito de la investigación es evaluar hasta que punto el envolvimiento social de la autora contribuye positivamente o interfiere en el desarrollo de su trabajo. Para el análisis de las diferentes cuestiones relacionadas al tema de “female genital cutting” (FGC), termino utilizado por mi en el decorrer del trabajo, las obras de las críticas y escritoras feministas como Ellen Gruenbaum, Lightfoot-Klein, Nancy Hartsock, Linda Nicholson, Efrat Tseëlon y la egipcia Nawal El Saadawi serán consultadas. Deseo que el trabajo realizado pueda contribuir como una observación sobre como Alice Walker utiliza su envolvimiento social en la creación de su mundo fictício.

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Adebayo, Adebanke. "West African Feminism| Maneuvering the Reality of Feminism Using Osun." Thesis, Southern Illinois University at Edwardsville, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10682016.

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West African Women writers are constantly looking for ways to maneuver the patriarchal system within their indigenous cultures. To say maneuvering implies the dilemma in consciously navigating patriarchal epistemology as West African women, which in reality is not exotic to other feminist struggles outside the continent. To deal with the dilemma of constantly maneuvering, this thesis suggest for an indigenous framework. It suggests Osun –a Nigerian goddess– as a response to the theoretical problems and as a methodology to navigating a postcolonial patriarchal worldview in order to express West African feminist discourse. The specificity of Osun is essential, but the fluidity of Osun across borders cannot be undermined as it paves the way for flexibility within feminist and gender discourse and draws upon various gender oppressed experiences. The idea of specificity and fluidity is fundamental to developing Osun as West African feminist discourse because of her ability to transcend space. The combination of specificity and fluidity are necessary within any feminist discourse as it allows for women from different regions to relate and align the tenets to their specific struggles found in the diversity of Osun.

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Dye, Angel. "JOOK: RENT PARTY POEMS." UKnowledge, 2019. https://uknowledge.uky.edu/english_etds/93.

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Jook is a spirited collection of historical persona poems situated in the vibrant rent party scene of 1920s Harlem. The Harlem Renaissance of New York was a decade of black innovation, artistry, and cultural expansion spanning 1920-1930. During this post-Emancipation, Great Migration era, black families leaving the South moved north only to encounter new forms of oppression. They were fleeing the lynchings, racism, and segregation that they experienced back home. In Harlem, black families earned disproportionately lower wages and paid much higher rents for subpar housing conditions compared to white families. To supplement their low incomes and to make the rent for the month, tenants hosted house-rent parties, also called social whist parties, in their apartments. They offered southern food, jazz and blues music (often live), and bootlegged liquor. Party guests paid a modest cover fee of 25 or 30 cents to enjoy the amusements, thus helping the hosts to pay their rent. The resistance work of this black joy in the face of economic, environmental, and social racism fascinates me and led me to research and uplift these narratives via persona poetry. The central figure in these poems is a 20-year-old Georgia migrant named Mae Lynne King. Mae has moved north with her older sister Maddy. The daughters of a southern preacher and a seamstress, the women find their footing in New York in very different ways. Mae works as a domestic and takes in laundry and sewing on the side while 24-year-old Maddy Jane becomes a streetwalker. The two young women live together and quickly become immersed in the rent party phenomenon while working to build a life away from the strict religious upbringing they knew back home. Mae and Maddy struggle against racism, sexism, and poverty discovering their roles as lovers, friends, and members of a new black Harlem. Mae’s journey through Harlem is one of revelation and awakening, and Maddy’s is one of self-actualization, autonomy, reclamation. Both women embody the womanist attitudes and practices, blackness, and sexual fluidity that are central to my work overall and that were highly visible during the Renaissance. While swaths of literature celebrate the art, music, and culture of the Harlem Renaissance, no contemporary collections of poetry contend with the oppression that African American people who migrated from the racially segregated South to Harlem faced. Jook is an offering of history, memory, language, and research to bridge that gap. This collection draws from Langston Hughes’ poetry and autobiography The Big Sea, Zora Neale Hurston’s novels and dramas, all of Harlem’s “negro literati,” jazz and swing music, photography, and archival materials from The Schomburg Center for Research in Black Culture and Yale University. Jook traverses free verse and formal boundaries while championing persona and a unique Harlemese vernacular in order to celebrate the fierce subversion that African Americans in 1920s Harlem engaged in via their rent party gatherings. I enter these poems with music and memory at the fore of my creative process and craft employments. I call on forms such as Ruth Ellen Kocher’s Gigan, the jazz sonnet, contrapuntal, and the ghazal to illustrate the simultaneous artistry and travailing that defined the Renaissance for African American people. I also borrow from the narrative elements of fiction to explore a specific arc within the lives of a cadre of imagined personas. The aim of this project is to recover and celebrate the unexplored stories of rent parties and to acknowledge the suffering and striving that these gatherings were born out of.

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Benavente, Gabriel. "Reimagining Movements: Towards a Queer Ecology and Trans/Black Feminism." FIU Digital Commons, 2017. http://digitalcommons.fiu.edu/etd/3186.

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This thesis seeks to bridge feminist and environmental justice movements through the literature of black women writers. These writers create an archive that contribute towards the liberation of queer, black, and transgender peoples. In the novel Parable of the Talents, Octavia Butler constructs a world that highlights the pervasive effects of climate change. As climate change expedites poverty, Americans begin to blame others, such as queer people, for the destruction of their country. Butler depicts the dangers of fundamentalism as a response to climate change, highlighting an imperative for a movement that does not romanticize the environment as heteronormative, but a space where queers can flourish. Just as queer and environmental justice movements are codependent on one another, feminist movements cannot be separate from black and transgender liberation. This thesis will demonstrate how writers, such as Audre Lorde, Toni Morrison, Angela Davis, and Janet Mock, help establish a feminism that resists the erasure of black and transgender people.

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Revelles, Benavente Beatriz. "Literature, Gender and Communication in the making: Understanding Toni Morrison's Work in the Information Society." Doctoral thesis, Universitat Oberta de Catalunya, 2014. http://hdl.handle.net/10803/306597.

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La present tesi doctoral examina una comunicació relacional com a objecte d'estudi per a la literatura. Aquesta comunicació es produeix entre autors i autores i lectors i lectores a través de les xarxes socials. Per a tals fins, utilitza una escriptora en particular, Toni Morrisson i una modalitat de xarxa social concreta, la seva pàgina oficial de Facebook. Utilitzant com a marc teòric el nou materialisme (Van der Tuin & Dolphijn, 2010) i una metodologia "difractiva" (Barad, 2007), aquesta tesi desenvolupa un concepte de comunicació literària basada en mecanismes que infereixen diferències substancials fonamentalment en dos aspectes: gènere i política.
La presente tesis doctoral examina una comunicación relacional como objeto de estudio para la literatura. Dicha comunicación se produce entre autores y autoras y lectores y lectoras a través de las redes sociales. Para tales fines, utiliza una escritora en particular, Toni Morrisson y una modalidad de red social concreta, su página oficial de Facebook. Utilizando como marco teórico el nuevo materialismo (Van der Tuin & Dolphijn, 2010) y una metodología "difractiva" (Barad, 2007), esta tesis desarrolla un concepto de comunicación literaria basada en mecanismos que infieren diferencias sustanciales fundamentalmente en dos aspectos: géenero y política. El marco teórico nuevo materialista lleva como principal premisa la ruptura de opuestos dicotómicos, tales como el binomio sexual entre hombres y mujeres. Por otra parte, la metodología difractiva se opone al "efecto espejo" en el cual las partes de la investigación (investigador o invcestigadora, metodología, instrumentos de medición y objecto de estudo, entre otros) son claramentes diferenciadas con el objeto de representar una realidad. Este punto de partida supone un cambio referencial por el cual buscamos procesos y no resultados. Así pues, en esta tesis encontramos que el objecto literario es la comunicación en sí (y no la obra o el autor o autora), y que en esta comunicación se produce una materialización de política basada en afinidades y no identidades y un concepto de género relacional situado (Haraway, 1991) racialmente. Estos conceptos teóricos se articulan empíricamente gracias al análisis de los afectos (Colman, 2008), o sentimientos, que se encarnan en las relaciones.
The present doctoral dissertation examines a relational communicacion as an object for Literary Studies. This communicacion between authors and readers is stablished through Social Networking Sites. For those means, it uses a concrete autor, Toni Morrisson and a particular Social Network, like her official Facebook page. Using New materialism (Van der Tuin & Dolphijn, 2010) as a theoretical framework and a "diffractive metodology" (Barad, 2007), this thesis develops a concept of literary communication based on mechanisms that produce differences on two main aspects: gender and politics. The new materialist framework postulates mainly breaking through opposite poles such as the sexual binary between men and women. On the other hand, the diffractive methodology is oppodef to the "mirroring effect" in wich the different elements of a research (such as researcher, methodology, apparatuses and object of study, among others) are separated from each other to represent reality. This requires a referential shift to look for processes instead of results. Therefore, in this thesis we find that the object of Literary Studies is the communication itself (not the novel or the author), and this communication materializes politics based uppon affinities and not identities and a concept of gender as relationally "situated" (Haraway, 1991) in a racial context. Theses theoretical concepts are empirically articulated thanks to the analysis of affects (Colman, 2008), or feelings, embedded in those relationships.

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Abreu, Aline Guimarães Teixeira de. "Celebrando o gênero feminino através da maternidade em narrativas de escravos e posteriores à escravidão." Universidade do Estado do Rio de Janeiro, 2006. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=130.

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Um estudo sobre a maternidade como um tema recorrente na Literatura Afro-Americana nos últimos três séculos e isso pode ser observado nas palavras de Harriet Jacobs e Maya Angelou. Em suas obras, respectivamente, Incidents in the Life of a Slave Girl and I Know Why the Caged Bird Sings, as autoras posicionam o eu negro feminino no centro de suas experiências e revêem suas memórias passadas. Fazendo isso, elas narram histórias que transcendem as suas próprias e dão voz as mulheres duplamente marginalizadas cujos testemunhos foram excluídos da História oficial e do cânone literário por serem negras e mulheres.
A study of motherhood as a recurrent theme in African American Literature in the last three centuries and this may be seen in the words of Harriet Jacobs and Maya Angelou. In their autobiographical works, respectively, Incidents in the Life of a Slave Girl and I Know Why the Caged Bird Sings, the authors place their marginalized black female self in the center of their own experience and revisit their past memories. By doing so, they narrate stories that transcend their own and voice the double jeopardized black women whose testimonies were excluded from official History and suffocated by the literary canon.

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Cesario, Irineia Lina. "Ventos do Apocalipse, de Paulina Chiziane, e Ponciá Vicêncio, de Conceição Evaristo: laços africanos em vivências femininas." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-14012014-122129/.

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O presente trabalho propôs-se a investigar a escritura literária de autoria feminina nas obras Ventos do Apocalipse (2006), de Paulina Chiziane, e Ponciá Vicêncio, de Conceição Evaristo, no sentido de estabelecer um diálogo com o espaço da experiência perceptiva e cultural geradora de imagens libertárias da consciência feminina nos contextos moçambicano e brasileiro. A opção por pesquisar obras produzidas em espaços sociais e políticos distintos reflete a preocupação em demonstrar que as mulheres continuam buscando formas de se fazerem ouvir, no campo do literário, criando discursos e estratégias enraizadas nas experiências femininas em Moçambique e no Brasil. O fato de este estudo ter buscado suporte interdisciplinar, na linha dos estudos culturais, sobretudo a reflexões históricas, sociológicas e até psicanalíticas, deriva de considerarmos a escrita literária de autoria feminina como um nicho relevante, a partir do qual as mulheres reinventam a sua identidade plural e atuam como agentes de conscientização e de transformação das relações sociais de gênero nos contextos em que suas obras se inserem.
This paper intends to investigate the literary writings by female authors in the works Ventos do Apocalipse (2006), by Paulina Chiziane, and Ponciá Vicêncio, by Conceição Evaristo, in order to establish a dialogue with the cultural and perceptive experience space where libertarian images of the feminine conscience in the Mozambican and Brazilian contexts are generated. The option to study works that were produced in diverse social and politic environments reflects the preoccupation to demonstrate that women are still searching ways to be heard in the literary field, by developing speeches and strategies whose roots lie in the feminine experiences lived in Mozambique and Brazil. In this paper we have searched a multidisciplinary basis, by means of cultural studies, mainly historical, sociological and even psychoanalytic reflections; and we have chosen this approach because we consider the feminine literary writing a relevant niche in which women reinvent their plural identity and perform the role of agents that arise awareness and lead to changes in the gender social relations of the contexts in which their works are embedded.

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Ribeiro, Célia Margarida da Silva. "Representações da violação na ficção feminina Africana." Master's thesis, Universidade de Aveiro, 2005. http://hdl.handle.net/10773/2758.

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O presente trabalho propõe-se examinar a violação em diferentes textos, nos contextos do Poscolonialismo e Feminismo, nomeadamente nos livros The Rape of Shavi, de Buchi Emecheta, The Rape of Sita, de Lindsey Collen, e Changes: A Love Story, de Ama Ata Aidoo. Embora os três textos analisem o tema em contextos e profundidades diferentes, os três apresentam a violação como uma metáfora para o encontro colonial. ABSTRACT: This Dissertation aims at examining rape in different texts, in the context of Postcolonialism and Feminism, namely in the books The Rape of Shavi, By Buchi Emecheta, The Rape of Sita, by Lindsey Collen, and Changes: A Love Story, by Ama Ata Aidoo. Although these analyse the theme in different contexts and depth, the three offer rape as a metaphor for the colonial encounter.

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Hitchcott, Nicola Marie. "The unspoken self : feminism and cultural identity in African women's writing in French." Thesis, University College London (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321098.

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Perez, Jeannina. "Matrilineal memories : revisionist histories in three contemporary Afro-American women's novels." Honors in the Major Thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1127.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Humanities
English

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Istomina, Julia. "Property, Mobility, and Epistemology in U.S. Women of Color Detective Fiction." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429191876.

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Drame, Siacka. "Trois exemples du personnage feminin dans le roman francophone d’Afrique subsaharenne: salimata, perpetue et laokole." Thesis, Kansas State University, 2012. http://hdl.handle.net/2097/13276.

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Master of Arts
Department of Modern Languages
Claire L. Dehon
Francophone Literature from Sub-Saharan Africa is an important indicator of the extent of the awakening by African people to their realities that link them to the past and the present. Novels of prominence written from the sixties to the nineties demonstrate how well their authors appreciate the characteristics of their societies. In this respect, some African writers such as Mongo Beti, Regina Yaou and Emmanuel Dongala in their respective works The Suns of Independence by Ahmadou Kourouma, Perpétua and the Habit of Unhappiness by Mongo Beti, and Johnny Mad Dog by Emmanuel Dongala offer very different characters, but with the same basic function of showing the African readers how poorly women have been treated in the past and today, and that without improving women's plight couldn't fulfill its role of protection, or nurturing towards its members. I will talk first about the submissive woman. Second, I will focus on the willingness of woman. Third, women in African society and then I will focus on Perpetua and the female characters in Perpetua and the Habit of Unhappiness by Mongo Beti. At the end of my study, I would lay the emphasis on the character of Laokole in Johnny Mad Dog.

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Oshindoro, Michael Eniola. "Myth Is Its Own Undoing: Approaching Gender Equity Through Gender Dialogue In Ayọbami Adebayọ’s Stay With Me (2017) And Lọla Shonẹyin’s The Secret Lives Of Baba Sẹgi’s Wives (2010)." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586457496960154.

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Weber-Fève, Stacey A. "There's no place like home homemaking, making home, and femininity in contemporary women's filmmaking and the literature of the Métropol and the Maghreb /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148746370.

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Vernon, Allie Harrison. "Does Money Indeed Buy Happiness? “The Forms of Capital” in Fitzgerald’s Gatsby and Watts’ No One is Coming to Save Us." Chapman University Digital Commons, 2019. https://digitalcommons.chapman.edu/english_theses/7.

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Looking primarily at two critically acclaimed texts that concern themselves with American citizenship—F. Scott Fitzgerald’s The Great Gatsby and Stephanie Powell Watts’ No One is Coming to Save Us—I analyze the claims made about citizenship identities, rights, and consequential access to said rights. I ask, how do these narratives about citizenship sustain, create, or re-envision American myth? Similarly, how do the narratives interact with the dominant culture at large? Do any of these texts achieve oppositional value, and/or modify the complex hegemonic structure? I use Pierre Bourdieu’s “The Forms of Capital” to investigate the ways in which economic, cultural, and social capital are distributed amongst identity groups of citizens, focusing on its favorable distribution to white upper-class men. Interesting, too, is the way in which these texts relate with one another and evolve over time. As Fitzgerald reaffirms boundary rights to white upper-class social capital to longstanding wealthy white males, Watts celebrates the survival of black individuals through the hard-earned persistence of human connection. Ultimately, as Gatsby fails to repeat the past, Watts succeeds in rewriting it.

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Sakkos, Tiina. "Existentialism and feminism in Kezilahabi`s novel Kichwamaji." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-94160.

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Makala hii inachambua riwaya ya pili ya mwandishi maarufu wa Kiswahili, Euphrase Kezilahabi (*1944) iitwayo Kichwamaji (1974). Inajaribu kuzingatia mikondo miwili ya uchambuzi yaani inajadili kwa ufupi nadharia ipi au mkondo upi wa kimawazo unafaa zaidi katika kuichambua riwaya hiyo: udhanaishi au ufeministi. Je, inawezekana kuunganisha yote mawili?
In this essay, I would like to analyse the novel Kichwamaji (‘Empty-head’; 1974) by the well-known Tanzanian writer Euphrase Kezilahabi against the background of two philosophical theories: existentialism and feminism. I will first discuss existentialism and the existentialist elements in the novel. Then I will present feminist theory and focus on the female characters in Kichwamaji. I will argue that a feminist reading of the novel is impossible due to its predominant existentialist character

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Steenkamp, Lize-Maree. "Place, space and patriarchal femininities in selected contemporary novels by African women writers." University of the Western Cape, 2019. http://hdl.handle.net/11394/6639.

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Philosophiae Doctor - PhD
In much feminist literature, women’s spaces are analysed as constructive and supportive sites that may offer respite from patriarchy. However, women’s spaces are not inherently emancipatory. Through the socio-spatial dispersal of patriarchal power, places and spaces varying in scale – nations, cities, rural towns, private-public places and the home – can construct women who further the interests of men. Specifically, homosocial spaces, spaces where women interact with other women, can produce femininities that oppress other women by actively advancing patriarchal concerns. The selected primary texts consider spaces in regionally diverse but socially similar African contexts: Sefi Atta’s Swallow (2011) and Lola Shoneyin’s The Secret Lives of Baba Segi’s Wives (2010) are set in Nigeria, Miral al-Tahawy’s The Tent (1998) is set in Egypt, while Leila Aboulela’s Lyrics Alley (2010) is set in both Egypt and Sudan. I use the selected novels as cartographies for socio-geographical inquiry to establish how space and place construct patriarchal women. Literary spaces and places are studied from largest to smallest scale: The analysis of national spaces in the novels is followed by a study of urban and rural spaces, followed by private-public places, domestic place and, finally, at a micro-scale, the body-as-place. The analyses of these literary spaces will reveal the mechanisms by which patriarchal women are spatially produced, and may use space to oppress other women.

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Munoz, Cabrera Patricia. "Journeying: narratives of female empowerment in Gayl Jones's and Toni Morrison's ficton." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210259.

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This dissertation discusses Gayl Jones’s and Toni Morrison’s characterisation of black women’s journeying towards empowered subjectivity and agency.

Through comparative analysis of eight fictional works, I explore the writers’ idea of female freedom and emancipation, the structures of power affecting the transition from oppressed towards liberated subject positions, and the literary techniques through which the authors facilitate these seminal trajectories.

My research addresses a corpus comprised of three novels and one book-long poem by Gayl Jones, as well as four novels by Toni Morrison. These two writers emerge in the US literary scene during the 1970s, one of the decades of the second black women’s renaissance (1970s, 1980s). This period witnessed unprecedented developments in US black literature and feminist theorising. In the domain of African American letters, it witnessed the emergence of a host of black women writers such as Gayl Jones and Toni Morrison. This period also marks a turning point in the reconfiguration of African American literature, as several unknown or misplaced literary works by pioneering black women writers were discovered, shifting the chronology of African American literature.

Moreover, the second black women's renaissance marks a paradigmatic development in black feminist theorising on womanhood and subjectivity. Many black feminist scholars and activists challenged what they perceived to be the homogenising female subject conceptualised by US white middle-class feminism and the androcentricity of the subject proclaimed by the Black Aesthetic Movement. They claimed that, in focusing solely on gender and patriarchal oppression, white feminism had overlooked the salience of the race/class nexus, while focus by the Black Aesthetic Movement on racism had overlooked the salience of gender and heterosexual discrimination.

In this dissertation, I discuss the works of Gayl Jones and Toni Morrison in the context of seminal debates on the nature of the female subject and the racial and gender politics affecting the construction of empowered subjectivities in black women's fiction.

Through the metaphor of journeying towards female empowerment, I show how Gayl Jones and Toni Morrison engage in imaginative returns to the past in an attempt to relocate black women as literary subjects of primary importance. I also show how, in the works selected for discussion, a complex idea of modern female subjectivities emerges from the writers' re-examination of the oppressive material and psychological circumstances under which pioneering black women lived, the common practice of sexual exploitation with which they had to contend, and the struggle to assert the dignity of their womanhood beyond the parameters of the white-defined “ideological discourse of true womanhood” (Carby, 1987: 25).

Doctorat en philosophie et lettres, Orientation langue et littérature
info:eu-repo/semantics/nonPublished

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Santos, Waltecy Alves dos. "A voz feminina na literatura de ascendência africana: hibridismo de mitos e ritos nos romances Niketche de Paulina Chiziane e A cor púrpura de Alice Walker." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/14887.

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This paper associates Literary Studies to Cultural Studies with the intention of comparing literatures that show itself as historically constituted subjects. In this sense, The female voice in literature of African ascendency: hybridism of myths and rites in the novels Niketche of Paulina Chiziane and The Color Purple of Alice Walker is a study that suggest literary-cultural reflections on the constructions of identities in these works. The research focuses on the construction of the subject through his speech and establishing the relationship with remarkable images in search of otherness namely, the mirror, unfolded in the letter, and the bed in addition to pointing out the problem of myths and rites as matrices to a new voice defined by cultural hybridism and fixed in orality. Finally, this research tries to describe the similarities and differences with respect to oppression and exclusion of marginal voices in case of the female voice of African ascendency examining them in what they have of challenging and transgressive in front of eurocentrical, patriarchal and theological assumptions, as they are presented in these works
A presente dissertação associa os Estudos Literários aos Estudos Culturais com o objetivo de aproximar literaturas que apresentam sujeitos historicamente constituídos. Sendo assim, A voz feminina na literatura de ascendência africana: Hibridismo de mitos e ritos nos romances Niketche de Paulina Chiziane e A cor púrpura de Alice Walker é um estudo que aponta reflexões literário-culturais a respeito da construção das identidades presentes nestas obras. A pesquisa centra-se na construção do sujeito por meio do seu discurso e na relação que estabelecem com imagens marcantes na busca da alteridade a saber o espelho, desdobrado na carta, e a cama além de apontar a problemática dos mitos e ritos como matrizes para uma nova voz marcada pelo hibridismo cultural e alicerçada na oralidade. Enfim, a pesquisa ambiciona esboçar as semelhanças e diferenças no que tange a opressão e exclusão de vozes marginais no caso a voz feminina e de ascendência africana analisando-as naquilo em que elas têm de desafiador e transgressor perante os pressupostos eurocêntricos, patriarcais e teológicos, apresentados nestas obras

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Pereira, Érica Antunes. "De missangas e catanas: a contrução social do sujeito feminino em poemas angolanos, cabo-verdianos, moçambicanos e são-tomenses." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-04012011-101230/.

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As angolanas Alda Lara e Paula Tavares, a cabo-verdiana Vera Duarte, a moçambicana Noémia de Sousa e as são-tomenses Alda Espírito Santo e Conceição Lima são as escritoras que melhor representam a poesia de autoria feminina em seus respectivos países e, embora pertençam a contextos socioeconômicos e culturais bastante diferentes, suas obras se aproximam tanto pela abordagem temática, quanto pela existência de um projeto de construção social do sujeito feminino. Assim, embasamo-nos, teoricamente, nos estudos em especial os de Michel de Certeau (2005) e Maria Odila da Silva Leite Dias (1992; 1994; 1998) em torno da hermenêutica do cotidiano feminino, a fim de demonstrar a importância dos papéis informais, das experiências vividas e da resistência das mulheres no processo de formação de suas subjetividades. Recorremos, ainda, a relatórios baseados em recenseamentos e a diversos documentos elaborados por organismos internacionais, a exemplo da ONU e da UNESCO, para estabelecer os pontos de contato entre a situação das mulheres e os contextos históricos-sociais em que estão elas inscritas, ou seja, Angola, Cabo Verde, Moçambique e São Tomé e Príncipe. Finalmente, aliando os aspectos teóricos e os contextuais, analisamos poemas contidos nas obras iniciais de cada uma das já referidas autoras respectivamente, Poemas (1966), Ritos de passagem (1985), Amanhã amadrugada (1993), Sangue negro (2001), É nosso o solo sagrado da terra (1978) e O útero da casa (2004) e procuramos demonstrar que as mulheres, muitas vezes portadoras de uma voz quase silenciosa e marcada pelas miudezas do cotidiano, inscrevem suas marcas na sociedade e têm o poder de (trans)formá-la e de transformar-se, decorrendo daí o título de nossa tese, De missangas e catanas, alusivo à simbologia da resistência empreendida por elas em favor do afloramento de suas subjetividades e do registro de suas historicidades.
The Angolan Alda Lara and Paula Tavares, the Cape Verdean Vera Duarte, the Mozambican Noémia de Sousa and the Santomean Alda Espírito Santo and Conceição Lima are the writers who best represent the poetry authored by women in their respective countries and, although belonging to very distinct socioeconomic and cultural contexts, their works approach both thematically and as a project of social construction of the female subject. Therefore, our work is based specially in the studies of Michel de Certeau (2005) and Maria Odila da Silva Leite Dias (1992, 1994, 1998) concerning the hermeneutics of everyday life of women in order to demonstrate the importance of informal roles, the experiences of women and the resistance in the formation of their subjectivities. We also recall the reports based on different censuses and documents prepared by international bodies such as the United Nations and UNESCO to establish points of contact between the situation of women and the social-historical contexts in which they are inscribed: Angola, Cape Verde, Mozambique and São Tome and Principe. Finally, combining the theoretical and contextual aspects, we analyzed poems contained in the initiation works of each of the aforementioned authors respectively - Poemas (1966), Ritos de passagem (1985), Amanhã amadrugada (1993), Sangue negro (2001), É nosso o solo sagrado da terra (1978) and O útero da casa (2004) and we demonstrated that even though women often suffer from an almost silenced voice, marked by the offal of daily life, they inscribed their mark on society having the power of (trans)form it. Hence, this is the origin of the title of our thesis, Of beads and machetes which illustrates the symbols of resistance undertaken by the authors for the blossoming of their subjectivities and for the registering of their historicities.

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Kempen, Laura Charlotte. "Words of deliverance : the (re)constitution of the disenfranchised feminine subject in selected works of West African and Latin American women writers /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/6694.

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Alva, Rodrigo Carvalho. "Zora Neale Hurston & Their Eyes Were Watching God: a construção de uma identidade afro-americana feminina e a tradução para o português do Brasil." Universidade do Estado do Rio de Janeiro, 2007. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=462.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
A presente dissertação possui dois objetivos principais. O primeiro, presente na parte I, é analisar a construção identitária feminina da personagem principal da obra Their Eyes Were Watching God, de Zora Neale Hurston. Sendo assim, a primeira parte desta dissertação é composta de quatro capítulos, sendo que ao longo dos três primeiros, antes da discussão propriamente dita, o trabalho busca aproximar o leitor da discussão. Para isso, os três capítulos iniciais têm o intuito de deixar o leitor familiarizado primeiro com a autora, depois com suas obras e, por último, com o momento histórico vivido pelos Estados Unidos no período do movimento cultural afro-americano conhecido como Harlem Renaissance. O segundo objetivo deste trabalho é analisar a tradução da obra, Seus Olhos Viam Deus, para o português e, se possível, fazer sugestões para as encruzilhadas e obstáculos tradutórios que porventura tenham sido enfrentados pelo tradutor. Esta dissertação visa com isso apresentar soluções que possam ser utilizadas em futuras traduções de obras de escritoras afro-americanas para o português do Brasil. Portanto, para isso, a segunda e a terceira parte deste trabalho, compostas de mais três capítulos, trazem uma revisão sobre as teorias tradutórias recentes e, em perspectiva inovadora, destacam pontos a serem abordados na discussão
The present dissertation has two main goals. The first, in part I, is to analyze the construction of the female identity of the main character of the novel Their Eyes Were Watching God, by Zora Neale Hurston. Therefore, four chapters compose the first part of this work. In the first three, before the discussion, the text tries to bring the readers closer to the discussion still to come. In order to do this, these initial chapters aim to make the reader more familiar with the author, then with her work, and, last but not least, with the historical moment in the United States during the period of the African-American cultural movement known as the Harlem Renaissance. The second goal is to analyze the translation of the novel, Seus Olhos Viam Deus, to Portuguese and, if possible, to make suggestions for the translation crossroads and obstacles that the translator might have faced. By doing this, this dissertation aims to present solutions that may be used in future translations to Brazilian Portuguese of works by African-American writers. Therefore, the parts II and III of this work, which are composed by three more chapters, bring a literary review about recent translation theories and, through an innovative perspective, detach a few points which are going to be subsequently discussed.

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Teotônio, Rafaella Cristina Alves. "Por uma modernidade própria: o transcultural nas obras Hibisco roxo, de Chimamanda Ngozi Adichie, e O Sétimo Juramento, de Paulina Chiziane." Universidade Estadual da Paraíba, 2013. http://tede.bc.uepb.edu.br/tede/jspui/handle/tede/1898.

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In recent times, the African literature starts to shift from its previous nationalist function as to conceive modernity. The search for what Édouard Glissant (2005) discusses concerning a specific modernity is observed. This literature, when understanding how consuming is the attempt to conquer an identity proper to African nations, reflects the impossibility of return to a pre-colonial past and that the hibridity of its cultures is not only the result of the European colonization, but also an existing reality before the colonization. The current attempt is to search for a modernity that is not the homogenizing, imposed by the globalization, in which the identities form easily commerciable patterns and the minorities are subordinated. The specific modernity" that is searched for, starting with the communication of the African literature and its societies, is a modernity with rhizomatic that tries to give voice to subjects previously hidden. In this search, the feminine authorship shows a particularized movement introduced in contemporary African literature. Women, before and after the colonization were seen as subjects stigmatized and violated by patriarchy, establishing with the literary expression a relationship that reveals and has the need to talk about their conditions as a minority and the condition of of other minorities. This work proposes to study two contemporary African female writers in whose works one can read the search and problematization of the modernity of their nations. The study analyzes the works The seventh oath (2000), written by the Mozambican writer Paulina Chiziane and Purple hibiscus (2011), by the Nigerian, Chimamanda Ngozi Adichie. Using the comparative method, the works are analysed by examining the way the authors communicate literally, producing in their narratives, updates of the African values, previously held forth by writers of other generations. Both narratives establish debates that distance themselves from the anterior perspective of African literatures when creating a face for the nation, in an attempt to invent a specific identity for them, because the narratives in The seventh oath and Purple hibiscus show an African identity that tries not to be fixed, imobile ou unique, however it is different due to its diversity of identities that relate to each other in the contemporainity.
Na atualidade, as literaturas africanas se deslocam da antiga função nacionalista para conceber a modernidade. Observa-se a busca do que Édouard Glissant (2005) diz a respeito de uma modernidade própria . Essas literaturas, ao entenderem o desgaste produzido pela tentativa de conquistar uma identidade própria às nações africanas, refletem a impossibilidade de volta a um passado pré-colonial, e que a hibridez de suas culturas não é somente resultado do encontro com a colonização europeia, mas uma realidade existente antes da colonização. A atual tentativa é de buscar uma modernidade que não seja a homogeneizante, imposta pela globalização, em que as identidades formam padrões facilmente comercializados e as minorias são subalternizadas. A modernidade própria procurada, a partir da comunicação das literaturas africanas com suas sociedades, é uma modernidade com identidades rizomáticas que tenta dar voz a sujeitos antes ocultados. Nessa busca, a autoria feminina demonstra uma visão particularizada do movimento instaurado nas literaturas africanas contemporâneas. As mulheres, antes e depois da colonização foram vistas como sujeitos estigmatizados e violentados pelo patriarcalismo, estabelecendo com a expressão literária uma relação que revela e tem a necessidade de dizer sobre sua condição minoritária e sobre a condição de outras minorias. O trabalho propõe estudar obras de duas escritoras africanas contemporâneas em cujas obras se leem a busca e problematização da modernidade de suas nações. O estudo analisa as obras O sétimo juramento (2000), da escritora moçambicana Paulina Chiziane, e Hibisco roxo (2011), da escritora nigeriana Chimamanda Ngozi Adichie. Utilizando o método comparativo, realiza-se a análise das obras examinando o modo como as escritoras se comunicam literariamente, produzindo, em suas narrativas, atualizações dos valores africanos antes pregados por escritores de outras gerações. As narrativas de O sétimo juramento e Hibisco roxo mostram uma identidade africana que não se quer fixa, imóvel ou única, mas que se diferencia pela diversidade de identidades que se relacionam na contemporaneidade.

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Wagner, Madison. "La modernité tunisienne dévoilée : une étude autour de la femme célibataire." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1368.

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This thesis explains recent accounts of discrimination and cutbacks in reproductive health spaces in Tunisia. Complicating dominant analyses, which attribute these events to the post-revolution political atmosphere which has allowed the proliferation of islamic extremism, I interpret these instances as a manifestation of a deeply rooted stigma against sexually active single women. I trace this stigma’s inception to the contradictory way that Habib Bourguiba conceptualized modernity after independence, and the responsibility he assigned to Tunisian women to embody that modernity. This responsibility remains salient today, and is putting Tunisian women in an increasingly untenable and vulnerable position. After independence, Bourguiba instated a series of policies and programs aimed at demonstrating the modernity of Tunisia. The success of Tunisia’s modernization was determined, and continues to be determined by the woman’s social transformation and embodiment of modernist values. Bourguiba’s modernist platform was constituted not only by typically ‘Western’ values, such as economic prosperity, family planning, education, and gender equality, but was also deeply informed by the islamic and cultural values that hold the woman’s primordial role to be mother and wife, and expect her to abstain from sex until marriage. The modern Tunisia woman thus became expected to both obtain higher levels of education and actively participate in the public sphere, and also uphold virtues around premarital virginity, marriage, and motherhood. Her fulfillment of these tasks marked the independent nation’s progress and modernity. Today, as more and more Tunisian women are increasingly empowered to fulfill one facet of their obligation and attend university, participate in the labor market, and make use of the growing contraceptive technologies available to them, they become more likely to postpone marriage and engage in premarital sexual relations. These latter behaviors transgress the second facet of the woman’s obligation, and threaten the very integrity of the modern nation. Women are thus becoming more and more subjected to societal punishment — stigma — which manifests in many forms, including discrimination in reproductive health care spaces.

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Dissertations / Theses on the topic 'African literature; Feminist'

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